Dom7 Mixolydian

Dom7 Mixolydian

The Dominant scale (Dom7) has the VII degree of the Major scale diminished by a half note. It is also the V mode of the Major scale, the Mixolydian mode. The Dominant scale has therefore no leading tone anymore and sounds less happy, but has more suspense.


Seventh Chords

If we expand the triad with a third a seventh chord is created

The dominant seventh chord consists of the triad on the V degree of the major scale and the scale’s seventh. Dominant seventh chord in C major is as a result G B D F The dominant seventh chord that is built from the root C (C E G Bb) belongs to F major scale. You can find more information about seventh chords under the Chord-Clock topic.

Dominant 7th Suspended 4th Chord

For the dominant 7th suspended 4th chord the IV degree replaces the III degree. If the dominant7 scale is used for it you should use the note of the III degree only as a passing tone. For C7sus4 chord the Dom7-BeBop scale or the Bb-major pentatonic scale (Bb C D F G Bb) fit as well.


The II – V – I Progression

If we build on the second, fifth and first degree of a major scale seventh chords, by adding thirds, we get again the three types of the seventh chords mentioned.

Diese Progression ist (nicht nur im Jazz!) weit verbreitet, da sie eine der stärksten Auflösungen beinhaltet. Die Intervalle zwischen den Grundtönen sind in dieser Progression reine Quarten (aufwärts) oder reine Quinten (abwärts). Im Thema Chord-Clock findest du weitere Informationen über die Progressionen.

The II-V- I Progression in Major Keys

In the major key we have following chord types, chords and suitable scales. The scales deal with the II, V and I mode of the major scale.

For recollection the involved modes of the major scale

Over the entire II-V-I progression you can play the notes of the I degree.

Damit alles ein bisschen spannender tönt hast du 3 Möglichkeiten:
1. Skalen-Substitution (Andere, zu den Akkorden passende, Skalen spielen)
2. Änderung des V-Dominantakkords.
3. Tritonus-Substitution.

3. Tritonus Substitution

Tritonus, lat./greek = Three-Note-Step = Augmented fourth

Der G7- Akkord wird durch den Db7- Akkord ersetzt, der einen Tritonus entfernt ist.
Hier die beiden Akkorde im Vergleich.

As you can see, the characteristic sounding chord notes, the third and the seventh are contained in both chords and have just exchanged their place.

The Db7 chord is very similar to the G7b9b5 chord (refer to altering of the dominant chord). Following scales fit the new Db7 chord :